{"id":765,"date":"2023-03-07T14:56:42","date_gmt":"2023-03-07T19:56:42","guid":{"rendered":"https:\/\/sites.bu.edu\/ampersandjournal\/?p=765"},"modified":"2023-03-07T15:33:58","modified_gmt":"2023-03-07T20:33:58","slug":"kaitlyn-m-canneto","status":"publish","type":"post","link":"https:\/\/sites.bu.edu\/ampersandjournal\/2023\/03\/07\/kaitlyn-m-canneto\/","title":{"rendered":"Kaitlyn M. Canneto"},"content":{"rendered":"

Kaitlyn M. Canneto<\/strong> graduated from The College of New Jersey in 2022 with a B.A. in Music and Minors in Political Science and Spanish. She is currently working toward an M.M. in Music History at Temple University, Boyer College of Music and Dance. Her research focuses on American popular music from jazz to Latin American pop and their social and cultural significance. Kaitlyn will be making regional and international conference presentation appearances this year for the College Music Society, Northeast Chapter, and the International Association for the Study of Popular Music.<\/em><\/p>\n

Breaking Down Sexism on Saxophone: Performing Gilda Lyons\u2019s hush<\/em><\/strong><\/p>\n

hush<\/em> (2018) is a composition for alto saxophone by Gilda Lyons (b. 1975), commissioned by and dedicated to saxophonist Carrie Koffman. In the score, Lyons captures the feeling of being silenced on the basis of marginalized identity through spoken phrases of implicit sexism and the \u201cshushing\u201d gesture to emphasize the symptoms of marginalization. Any performance of hush<\/em> is demanding to the saxophonist, both personally and musically, from the depth of the themes present in the composition and the complex notation required for the saxophone.<\/p>\n

I explore the heterogenous aspects that convey the intended message of hush<\/em> through score study and performance analysis, comparing different performances of the piece.\u00a0 Contextualizing the piece with Lyons\u2019s background foregrounds the precedence for her writing of it and collaboration with Koffman.\u00a0 The development of the commission is supported by a 2020 interview from ComposorsNow with both Lyons and Koffman, as well as individually conducted interviews with Lyons and Koffman.\u00a0 Within the score and text, the detailed indications for the performer are identified for their significance to the function of the piece.\u00a0 These observations along with those of recorded performances will guide any conclusions pertaining to the role of the performance, the significance of the performer\u2019s gender, and the meanings of the piece in different contexts.\u00a0 My argument is further supported by the scholarship of Nicholas Cook from \u201cMusic as Performance\u201d in The Cultural Study of Music: A Critical Introduction<\/em>, and Richard Schechner\u2019s \u201cWhat is Performance,\u201d in Performance Studies: An Introduction<\/em>.<\/p>\n

Composer, vocalist, and visual artist Gilda Lyons describes her compositions as an exploration of the \u201cblurred line of genre[s],\u201d encompassing theater, cabaret, and performance art.\u00a0 Through composition and performance, Lyons strives to \u201cactively push things that [serve as] safety barriers,\u201d[1]<\/sup><\/a> reflected in her repertoire of compositions with themes of gender, femininity, and sexism.\u00a0 Her first premiere composition posits the importance of these themes to her work.\u00a0 In 1996, what you want (substance free) <\/em>was premiered at Bard College where Lyons earned her Bachelor of Arts in Composition, Vocal Performance, and Visual Arts in 1997 and studied composition with Joan Tower and Daron Hagen, and voice with Arthur Burrows.\u00a0 In her compositions, Lyons seeks \u201c[to lead with] welcome, not rage\u2014an invitation to dialogue\u201d[2]<\/sup><\/a> for audiences, penning a depth in her work far beyond the ink on the page.<\/p>\n

what you want (substance free)<\/em> exhibits the rage experienced by Lyons as a young woman, passively giggling where \u201clanguage [was not] readily available\u201d[3]<\/sup><\/a> and would be addressed head-on in her later works.\u00a0 This piece is mosaic-like, categorically a work of musique concr\u00e8te<\/em>, music composed of recorded sound,[4]<\/sup><\/a> featuring the pre-recorded sound of a teenage girl\u2019s voice. Lyons describes the piece as \u201ca not-so-gentle dialogue about the role and perception of a young female voice in American culture \u2026 a grotesque caricature of the \u2018nice girl\u2019 who has softened every edge, hidden any sign of intelligence, and obliterated her own internal fire for the sake of other people\u2019s comfort and acceptance.\u201d[5]<\/sup><\/a>\u00a0 Between the laughter and affirmative phrases, the \u201cnice girl\u201d foregrounds the invalidity of the young female voice, the perceived lack of intelligence, and compulsion to appease others.\u00a0 The content of this piece is informed by personal experience and its conception could have only been by a woman due to its specificity.<\/p>\n

Over twenty years later, hush<\/em> demonstrates \u201cwhat [comes] next after the shouting and rage.\u201d[6]<\/sup><\/a>\u00a0 The conception of hush<\/em> would not have come to fruition without Carrie Koffman, Lyons\u2019s colleague at The Hartt School at the University of Hartford.\u00a0 Having received a grant to commission a composition Koffman sought \u201ca feminist piece\u201d[7]<\/sup><\/a>, and turned to Lyons after viewing a student presentation of what you want (substance free)<\/em>.\u00a0 In an interview for Composers Now presents Composer Curator with Eleonor Sandresky, Koffman said \u201cas an instrumentalist, of course, I always have to sing without words, I never get to use words;\u201d[8]<\/sup><\/a> Koffman further revealed in our interview, that in the early stages of her commission the saxophonist and Lyons wanted to use the voice of what you want (substance free)<\/em> integrated with the saxophone.\u00a0 While the 1996 work did not transfer seamlessly into the work, it is sometimes used as a precursor, or first movement with hush<\/em>.\u00a0 In lieu of the voice from what you want (substance free)<\/em>, Koffman wanted to \u201cspeak with a voice that reflected [her] experiences,\u201d revealing \u201cWhen I started teaching in Fall of 1994, at the time no [female saxophonist] had achieved the rank of full professor.\u201d[9]<\/sup><\/a>\u00a0 Thus, Lyons brought the element of spoken word into the piece in addition to the solo alto saxophone.\u00a0 hush<\/em> was published by Burning Sled Media in 2018 and premiered at the World Saxophone Congress in Zagreb, Croatia in July of that same year.<\/p>\n

The composition is broken into three sections of tempo markings: \u201cEntirely free,\u201d \u201cDriven, swing (quarter note = 100),\u201d and \u201cEntirely free again.\u201d\u00a0 Stylistically contrasting, these sections of the piece are a vehicle for delivering the message, and they depict the transit of character, or development of the beginning to the end of an individual character.[10]<\/sup><\/a> \u201cHush,\u201d the titular gesture, drives the piece, establishing the score as a dramatic text.[11]<\/sup><\/a>\u00a0 Expressed by the performer, the \u201cshushing\u201d is characteristic of the feeling of being silenced, ignored, or unheard as someone of a marginalized identity; namely, as a woman in a male-dominated society and field.\u00a0 Lyons inserts these as the initial downbeat, between the instrumental phrases, and as intermittent phrases and spoken lines.\u00a0 In doing so, the performer interrupts the voice of the saxophone with the text spoken in order to depict the experience known to them, and emphasizes the personal impact to the listener through performance.\u00a0 The inhalations peppered throughout the composition are described as a contrast to the hush, the latter acting as an exhale.\u00a0 The dichotomy of exhaling and inhaling represents the reception of sexist attitudes, or being hushed, and the inhale is a surprise alert, specifically of being \u201cshocked into awareness of something\u201d as described by Lyons.[12]<\/sup><\/a>\u00a0 The awareness is to the sentiments implicit in the text, a reaction to the sexist language.<\/p>\n

Both the \u201cEntirely Free\u201d and \u201cEntirely Free Again\u201d sections, considerably A and A\u2019,\u00a0 deliberately express the flexibility and liberties suggested for the performer.\u00a0 Marked \u201crepeat ad libitum\u201d and \u201ctimbral shifts, randomly placed\u201d the performer has the discretion to improvise the selected portion in timbral changes, number of repetitions, and\/or tempo.\u00a0 Lyons notes \u201cthe freedom to shape and drive forward this piece, is essential to allowing for the connection that needs to be there.\u201d[13]<\/sup><\/a>\u00a0 Lyons connects this conceptually to keening, the overlap of audibly soulful song and deep sobbing, and in penning \u201cad libitum\u201d or the like, there is flexibility for the performer to find that space\u2014to mourn and air grievance of being silenced through song.\u00a0 In addition, Lyons adds the depth of lived experience to her work with specific cultural influences.\u00a0 According to the composer, the pulse present through palm to chest taps and clapping are rhythms characteristic of Nicaraguan music that she embeds into all of her works, a product of her Nicaraguan heritage.\u00a0 hush <\/em>is already personal in the sentiments expressed, and Lyons uncovers in the principal section the deep-rooted rhythm characteristic of a heartbeat used to get her to sleep as a child.\u00a0 According to Lyons, \u201cIt\u2019s how I start from vulnerability, it\u2019s the heartbeat.\u201d[14]<\/sup><\/a><\/p>\n

The spoken text in the score is a product of multiple exchanges with Koffman, informed by both of their experiences.[15]<\/sup><\/a>\u00a0 Koffman revealed in the interview with Composers Now that, \u201cI tried to explain how often I feel like my voice gets buried, and I included a multitude of examples, both personal and, of course societal,\u201d[16]<\/sup><\/a> particularly as a female saxophonist.\u00a0 Saxophone is a typically male-dominated instrument, similar to the field of composition; framing the saxophone\u2019s voice as male provides an unsilenced voice to speak for the silenced, to perform femininity.[17]<\/sup><\/a>\u00a0 In the score, the text is notated similarly to percussion notation, and while marked both with articulation and dynamics, the rhythms are not given fixed pitches.\u00a0 Like the music, the text also has direction in approach and performance, including \u201cwhispered,\u201d \u201cfull voice, smiling,” and \u201cintensely focused; clear but unpitched spoken voice.”\u00a0 In doing so, Lyons prioritizes the performance of the spoken text and its preparation to that of the saxophone, and extends musicality beyond the instrument to the human voice.\u00a0 The text is perhaps the most crucial part of contextualizing and delivering the message of hush<\/em>, and the dictation and guidance provided in the score is necessary to perform it effectively.<\/p>\n

On the whole, these phrases are directives to behave and present in certain manners, while also imposing limitations.\u00a0 The first example of this appears at the end of the third system, with the stomp coinciding with \u201cSpeak up. Not too loud.\u201d\u00a0 Other examples of this include, \u201cSerious, but happy!\u201d and \u201cSmart AND pretty.”\u00a0 Each is contradictory or paradoxical, or thought to be, exemplifying the gendered expectations imposed by the patriarchy on women\u2019s speech.\u00a0 The spoken and percussive parts seem to respond to the voice of the saxophone between the instrumental lines.\u00a0 Examining these lines as though they are the marginalized individual speaking, they guide the saxophone through each phrase, approaching it differently each time as per the direction of the spoken word.\u00a0 Prior to the climax of the piece, the speaker says \u201cStrong (accented), but not overpowering\u201d leading the saxophone up the register to fast altissimo phrases, perhaps the most characteristically \u201cstrong\u201d or instrumentally demanding portions of the composition so far.\u00a0 In response, the speaker adds to the strong directive saying, in \u201cloudest speaking voice,\u201d \u201ccapable, but not off-putting,” with notated aggression through a fortissimo crescendo and accented syllables, to which the saxophone subsequently growls.\u00a0 This relationship of phrases characterizes both the saxophone and speaker, challenging previous frames of understanding femininity.<\/p>\n

The spoken phrases throughout the score are characteristic of phrases often directed toward women, as described in the program note and easily apparent.\u00a0 Koffman explained that, in developing this piece with Lyons, \u201cI asked for your [Lyons\u2019s] voice, my voice, and every-woman voice.\u201d[18]<\/sup><\/a>\u00a0 As a result, the commissioned product is described by Lyons in her note as follows:<\/p>\n

\n

“hush” for solo alto saxophone, is fueled by a need to explore, unpack, and reexamine the ways a [formerly \u2018woman\u2019s\u2019] voice can be informed by received gendered language over the course of a lifetime. Reflecting on my own experience, I honed-in on specific phrases that have evolved in meaning for me and set them as spoken words within the context of contrasting musical lines\u2014marked both \u201cEntirely free\u201d and \u201cDriven, swing\u201d\u2014while exploring percussive, often breath-driven sounds that point to, among other things, pulse and heartbeat, and that contrast the recurring, sustained \u201cshushing\u201d gesture that evolves over the course of the piece. hush was commissioned by Carrie Koffman for premiere at the World Saxophone Congress in Zagreb, Croatia in July 2018.[19]<\/sup><\/a><\/p>\n

Koffman and Lyons\u2019s commitment to speaking for anyone who has felt silenced is effectively done so by literally recreating the \u201chush,\u201d but empowers speakers and listeners alike in seeing and hearing this performance.<\/p>\n

In his work on performance studies, Richard Schechner synthesizes the philosophies of scholars Bharata, Horace, and Bertolt Brecht to form his model to prescribe the function of a performance: the interlocking spheres of performance.[20]<\/sup><\/a>\u00a0 The seven spheres consist of the following functions: to entertain, to create beauty, to mark or change identity, to make or foster community, to heal, to teach or persuade, and to deal with the sacred and demonic.[21]<\/sup><\/a>\u00a0 Each sphere is distinct, but they are not always mutually exclusive; one or more spheres may intersect. According to Schechner, it is uncommon for a singular performance to accomplish each function at once, though he acknowledges that \u201cmany performances emphasize more than one.\u201d[22]<\/sup><\/a>\u00a0 Considering this model in the context of hush<\/em> guided my approach to studying performances of hush<\/em>, as I believe Lyons provides for all of these functions to different extents. Moreover, through the \u201cad libitum\u201d and \u201cfree\u201d notations of the composition, no two performances will be the same, whether by the same performer, or others.\u00a0 Generally, this liberty is part of what identifies hush<\/em> as performance art, and makes each performance more enticing for its uniqueness.<\/p>\n

The earliest publicly available recording of a performance by Koffman is in an open studio for The Phoenix Concerts in New York City on October 16, 2018.[23]<\/sup><\/a>\u00a0 Here, she begins clutching her fingers to the keys of her horn while making the onset hush gesture with a stern expression to the unseen audience.\u00a0 Gasping, she maintains eye contact before beginning the saxophone melody.\u00a0 In playing the seemingly-improvisatory lines, she comfortably moves her body, asserting a sense of ownership to the piece.\u00a0 Koffman maintains a sturdy, wide-legged stance which comes across as powerful and strong.\u00a0 She presents a delicate shift in voice when quickly transitioning from instrumental speech to spoken and percussive material.\u00a0 As prescribed by Lyons in the score, Koffman connects this material with saxophone gestures, appearing as an extension of each other, at times, or further contextualization.\u00a0 Her delivery of the text in the \u201cDriven, swing\u201d section is direct, both vocally and expressively.\u00a0 Phrases including \u201cMake sure you ask nicely\u201d and \u201cStand up straight\u201d come across as an authoritative figure politely talking down to the receptor.\u00a0 As she speaks the next spoken phrase, she physically extends herself, leaning on the tips of her toes to emulate \u201cstraight, tall, slim,\u201d\u00a0 before the altissimo-demanding section, where in she moves less, allowing the extended upper register to appear effortless.\u00a0 In the spoken phrases through this section, Koffman becomes more aggressive, allowing her voice to break in moments, up until she utters a wailing \u201cwait\u201d closed with a hard \u201ct,\u201d followed by an altissimo D sounding like that of a cry.\u00a0 The subsequent phrase, \u201cWait. Your. Turn.\u201d is accompanied by a pointed finger to punctuate each word to the audience and perhaps reflect the text to them.\u00a0 Entering \u201cEntirely free again,\u201d the decrescendoing key clicks in unison with the hush gesture into the horn ring throughout the performance space, anticipating the impending silence.\u00a0 The remainder of the composition appears to echo the beginning, this time more gentle, and perhaps even freer than \u201centirely free.\u201d\u00a0 The performance is closed by Koffman, without residual aggression instructing, \u201cSpeak up\u201d and staring directly at the audience.<\/p>\n

The most recent performance by Koffman is from May 2021 at The Hartt School.[24]<\/sup><\/a>\u00a0 Having lived with the piece for nearly two years, Koffman employs varied approaches and choices in this performance since the 2018 recording.\u00a0 This is presumably a product of time, as well as the flexibility of the composition.\u00a0 We now see Koffman from her front side, providing the audience\u2019s point of view, as opposed to a right, diagonal angle.\u00a0 As for the music, her performance varies in her phrasing, both shortening written and improvised phrases, such as the opening ad libitum sections, as well as taking more time in sections for emphasis, especially in the \u201cDriven, swing\u201d section.\u00a0 Additionally, the venue appears to be physically intended for performance, as opposed to the \u201copen studio\u201d from the earlier recording.\u00a0 As a result, the sound is much more resonant in this space through the recording, particularly the shouting, making for a stronger impact of the text\u2019s delivery, and not necessitating voice breaking as much to be expressive.\u00a0 The delivery of the spoken text, too, is much more expressive and embellished in this iteration to add to the character of the speaker.\u00a0 As Koffman says, \u201cSmile [whispered]. Smile [full voice, smiling],\u201d her voice leaps about an octave on the \u201cfull voice,\u201d and comes across disingenuous or sarcastic. Instead of physically expressing the text, on \u201cstraight, tall, slim\u201d she lengths each even more, and she says this as though she is painting a picture with her voice of someone with this appearance.\u00a0 In response, she physically characterizes \u201cstraight, tall slim\u201d in an elongated approach of the swung section.\u00a0 Overall, both the saxophone and the spoken lines come across bluntly through the aggression in her voice and the voice of the saxophone.\u00a0 The last section, \u201centirely free again\u201d is less gentle than the 2018 iteration, and much more assertive to represent the voice and the saxophone\u2014neither will be silenced, despite the demands by the spoken text.<\/p>\n

Another recent performance is from the University of California, Los Angeles, by Jan Berry Baker, Associate Professor of Saxophone.\u00a0 Baker\u2019s performance is the only recorded performance of the piece available on YouTube besides Koffman\u2019s, and it expands understanding and provides further insight into hush<\/em> and its performance.\u00a0 Koffman, as the premiere performer of the piece, set an example of how to convey the work.\u00a0 Duly, Baker\u2019s 2021 performance bears more resemblance to Koffman\u2019s 2018 performance, primarily in her saxophone playing.\u00a0 This iteration is performed in a concert hall or performance venue, making for especially percussive palm-to chest body percussion and a resonant saxophone.\u00a0 Most notably, Baker introduces a different tone of the spoken text.\u00a0 Unlike Koffman, her attention while speaking is not always directly to the audience, reserving eye contact for particularly emotional delivery.\u00a0 Glancing to the audience or scanning her surroundings while delivering the text, she nearly characterizes the speaker to be passive, with the implication that the directives are reminders of what should be known by the receptor.\u00a0 This includes \u201csmile [full voice, smiling]\u201d spoken like a picture day photographer, and a direct, quiet expression of \u201ccapable, but not off-putting,\u201d where Koffman would nearly crack her voice here.\u00a0 However, this approach to the spoken text is very conscious in order to intensify the last section.\u00a0 Here, her eye contact is directly to the audience, nearly unbroken, when she says \u201cListen\u201d and \u201cSpeak up.\u201d\u00a0 The contrast in her diction through the performance depicts the transit of the character of the piece.<\/p>\n

Though each of these performances is unique, the Lyons\u2019s intentions come to fruition in each iteration.\u00a0 As per Schechner, performance in and of itself is entertaining, but especially the theatricality that the text calls for, and it is depicted in varying forms.\u00a0 hush <\/em>considerably deals with \u201cthe sacred and demonic\u201d[25]<\/sup><\/a> through unapologetically diving into topics of vulnerability and marginalization typically uncharacteristic of solo instrumental works.\u00a0 When speaking on its performance, Koffman believes the piece to be \u201can integration of mind, body, and spirit,\u201d both for the performer and their connection with the composer and listener.\u00a0 She relates this to a quote by violinist and conductor Yehudi Menuhin, \u201cI can only think of music as something inherent in every human being \u2013 a birthright. Music coordinates mind, body and spirit.\u201d[26]<\/sup><\/a><\/p>\n

Further, in doing so the composition provides a space for a ritual of telling, and retelling the story, and to counter the habitual ritual of sexism.\u00a0 This space fosters community for the marginalized who understand this experience, and can enjoy a performance to which they connect to.\u00a0 Reclaiming the objectively sexist text for a new purpose marks the identity of a woman in relation to receiving this language as resilient to marginalization.\u00a0 The performer taking control of the language and this treatment can be healing both to them, and the audience who shared these lived experiences.\u00a0 Finally, the act of performing hush<\/em> beautifies feminism, and a woman putting her foot down, figuratively and literally.<\/p>\n

These performance functions would not be achieved completely or in the same way if it were to be performed by a man, or even a man of an othered identity.\u00a0 Should this happen, he would not be reclaiming anything in language directed toward women, and instead be exhibiting performance as a twice-behaved behavior, or the performance of prepared actions.[27]<\/sup><\/a>\u00a0 While this would be entertaining, and perhaps demonic in its contradictory nature, the message of addressing sexist language would be lost in delivery from score to stage.\u00a0 Any sense of community formed by this audience would not extend beyond individuals in attendance of a performance\u2014therefore, no longer beautiful, or pleasing to watch.\u00a0 Nonetheless, these are but hypotheses, and Lyons does not require a particular identity or anything more of the performer that is not notated.\u00a0 In our interview, she said she would \u201crather err on the side of travesty than close off opportunity,\u201d believing that \u201cwhat shouldn\u2019t be done isn\u2019t explored\u201d and this would \u201cmaybe allow [us] to hear something we wouldn\u2019t hear otherwise.\u201d[28]<\/sup><\/a>\u00a0 Lyons does not believe she should dictate performances of her compositions once they are published, beyond the belief to \u201ctrust people to bring their best selves…if there is an honest connection and a need [to perform the piece].\u201d[29]<\/sup><\/a><\/p>\n

hush<\/em> offers a richness in depth through both the composition and its performance, yet one is not without the other.\u00a0 In performance, saxophone serves the role of the silenced voice, playing in response to and disobeying the \u201cshushing gestures\u201d and spoken text.\u00a0 The specific instrumentation marks the Koffman\u2019s importance to the work and emphasizes the disempowerment in the community of the instrument on the basis of identity.\u00a0 As for the performer, their identity and delivery of the spoken text and their portrayal of the instrumental lines intersect to characterize the composition and address its content without the need to name this explicitly.\u00a0 Unless a performer were to deviate from the score entirely, the message remains clear from the conversation of the instrumental and spoken phrases and the language included.\u00a0 The adaptability for different choices is part of the core of this composition as performance art.\u00a0 A performer cannot simply approach this as an instrumental solo; rather, they must mine the depth of the emotion necessary to understand, prepare, and perform hush<\/em>, which can be extremely vulnerable.\u00a0 With the score, Lyons guides the performer through this vulnerability and how to convey these lived experiences.\u00a0 For the spoken word in particular, the characterization is carried out and made seamless with the saxophone through Lyons\u2019s direction, just as a script helps an actor to find their character.\u00a0 hush<\/em> and its commission, though, is not unrelated to the past works of Lyons and her mission of inviting performers and audiences to face their vulnerability.\u00a0 This composition continues the message of what you want<\/em> (substance free)<\/em> and speaks where there were not previously words.<\/p>\n

Additionally, the aforementioned piece inspired Koffman to reach out to Lyons, who is a composer and storyteller regarding the disempowerment of women.\u00a0 Putting hush<\/em> out into the world extends to more storytellers, and re-tellers; to anyone who understands and relates to the message of the composition, which may not inherently be women, but a community of the marginalized empowered after being silenced for their identities.\u00a0 While the language used in the spoken text is still acknowledged to be gendered, the perception of being silenced or dismissed due to an individual\u2019s identity reaches beyond women, and the amendment to the program note welcomes performers of other backgrounds to do so, expanding the future of this piece for people of color, the LGBTQ+ community, and any possible intersections.\u00a0 Over the past two years, I have found the piece to reach more audiences by more performers, in addition to Baker, including Dr. Nicki Roman, Assistant Professor of Saxophone at the University of Wisconsin-Miluakee, and Emma Mooradian, a graduate student studying under Baker.[30]<\/sup><\/a>:[31]<\/a><\/sup> \u00a0The spread of the composition works to continue the functions of the spheres of performance, and perhaps inspire others to reach into vulnerability through music composition, too.<\/p>\n

End Notes<\/strong><\/p>\n

[1]<\/span><\/sup><\/a> Gilda Lyons, interview by Kaitlyn Canneto, Zoom, October 15, 2021.<\/p>\n

[2]<\/span><\/sup><\/a> Lyons, interview.<\/p>\n

[3]<\/span><\/sup><\/a> Ibid.<\/p>\n

[4]<\/span><\/sup><\/a> \u201cmusique concr\u00e8te,\u201d in The Oxford Dictionary of Music<\/em>, edited by Joyce Kennedy, Michael Kennedy, and Tim Rutherford-Johnson, (New York: Oxford University Press, 2012), https:\/\/www.oxfordreference.com\/view\/10.1093\/acref\/9780199578108.001.0001\/acref-9780199578108-e-6328<\/a><\/span>.<\/p>\n

[5]<\/span><\/sup><\/a> Gilda Lyons, what you want (substance free)<\/em>, accessed November 11, 2021, http:\/\/www.gildalyons.com\/music\/what-you-want-substance-free<\/a><\/span>.<\/p>\n

[6]<\/span><\/sup><\/a> Ibid.<\/p>\n

[7]<\/span><\/sup><\/a> \u201cComposer Curator with Eleonor Sandresky,\u201d interview by Eleonor Sandresky, Youtube<\/em>, Composers Now, September 22, 2020, Video, 58:57. https:\/\/www.composersnow.org\/cn\/Chronicles\/Composer_Curator\/<\/a><\/span>.<\/p>\n

[8]<\/span><\/sup><\/a> \u201cComposer Curator with Eleonor Sandresky,\u201d interview.<\/p>\n

[9]<\/span><\/sup><\/a> Carrie Koffman, interview by Kaitlyn Canneto, Phone, November 29, 2021.<\/p>\n

[10]<\/span><\/sup><\/a> Lyons, interview.<\/p>\n

[11]<\/span><\/sup><\/a> Richard Schechner, \u201cPerformance Processes,\u201d Performance Studies: An Introduction<\/em>, 3rd ed. (New York: Routledge, 2013), 227.<\/p>\n

[12]<\/span><\/sup><\/a> Lyons, interview.<\/p>\n

[13]<\/span><\/sup><\/a> Ibid.<\/p>\n

[14]<\/span><\/sup><\/a> Lyons, interview.<\/p>\n

[15]<\/span><\/sup><\/a> \u201cComposer Curator with Eleonor Sandresky,\u201d interview.<\/p>\n

[16]<\/span><\/sup><\/a> Ibid.<\/p>\n

[17]<\/span><\/sup><\/a> Judith Butler, \u201cBodily Inscriptions, Performative Subversions,\u201d in Routledge International Handbook of Heterosexualities Studies, <\/em>ed. Nancy L. Fischer and James Joseph Dean (New York: Routledge, 2020), 48-57.<\/p>\n

[18]<\/span><\/sup><\/a> \u201cComposer Curator with Eleonor Sandresky,\u201d interview.<\/p>\n

[19]<\/span><\/sup><\/a> Gilda Lyons, \u201chush,\u201d Accessed April 4, 2021, http:\/\/www.gildalyons.com\/music\/hush<\/a><\/span>.<\/p>\n

[20]<\/span><\/sup><\/a> Richard Schechner, \u201cWhat is Performance,\u201d Performance Studies: An Introduction<\/em>, 3rd ed. (New York: Routledge, 2013), 46.<\/p>\n

[21]<\/span><\/sup><\/a> Schechner, \u201cWhat is Performance,\u201d 46.<\/p>\n

[22]<\/span><\/sup><\/a> Ibid., 46.<\/p>\n

[23]<\/span><\/sup><\/a> Gilda Lyons, \u201chush \/ Gilda Lyons \/ Carrie Koffman, saxophone,\u201d YouTube Video, April 22, 2019, https:\/\/youtu.be\/9tsE3erIedY<\/a><\/span>.<\/p>\n

[24]<\/span><\/sup><\/a> Carrie Koffman, \u201chush by Gilda Lyons,\u201d YouTube Video, May 24, 2021, https:\/\/www.youtube.com\/watch?v=ZtmpWCHlhiI&t=106s<\/a><\/span>.<\/p>\n

[25]<\/span><\/sup><\/a> Schechner, \u201cWhat is Performance,\u201d 46.<\/p>\n

[26]<\/span><\/sup><\/a> Koffman, Interview.<\/p>\n

[27]<\/span><\/sup><\/a> Schechner, \u201cWhat is Performance,\u201d 28.<\/p>\n

[28]<\/span><\/sup><\/a> Gilda Lyons, interview.<\/p>\n

[29]<\/span><\/sup><\/a> Gilda Lyons, interview.<\/p>\n

[30]<\/span><\/sup><\/a> Nicki Roman, \u201cIt\u2019s been extremely gratifying learning Gilda Lyons\u2019 \u201chush\u201d, written for Carrie Koffman,\u201d Facebook, November 12, 2021, https:\/\/www.facebook.com\/100000003066177\/videos\/2985589471754562\/<\/a><\/span>.<\/p>\n

[31]<\/span><\/sup><\/a> Emma Mooradian, \u201cAbout,\u201d accessed, November 22, 2021, https:\/\/emmamooradian.com\/about\/<\/a><\/span>.<\/p>\n

 <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Kaitlyn M. Canneto graduated from The College of New Jersey in 2022 with a B.A. in Music and Minors in Political Science and Spanish. She is currently working toward an M.M. in Music History at Temple University, Boyer College of Music and Dance. Her research focuses on American popular music from jazz to Latin American […]<\/p>\n","protected":false},"author":20372,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[16],"tags":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/posts\/765"}],"collection":[{"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/users\/20372"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/comments?post=765"}],"version-history":[{"count":15,"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/posts\/765\/revisions"}],"predecessor-version":[{"id":832,"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/posts\/765\/revisions\/832"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/media?parent=765"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/categories?post=765"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/ampersandjournal\/wp-json\/wp\/v2\/tags?post=765"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}